The Composition of Four Quartets

Total Page:16

File Type:pdf, Size:1020Kb

The Composition of Four Quartets also by Helen Gardner The Composition of " A READI"iG OF PARADISE LOST RELIGION AND LITERA.TCRE Four Quartets THE BUSINESS OF CRITICISM (Edited by) A BOOK OF RELIGIOUS VERSE HELEN GARDNER THE METAPHYSICAL POETS THE NEW OXFORD BOOK OF ENGLISH VERSE NEW YORK OXFORD UNIVERSITY PRESS 1978 First published in Great Britain I978 by Faber and Faber Limited First published in America Preface by O:cford Uni'oersity Press Printed in Great Britain at the University Press, Oxford by Vivian Ridler Printer to the University M v first sight of the drafts of Four Quartets and of the correspondence All rights reserved with John Hayward about them was in 1947, when, as the result of a query from me over a Donne manuscript, he asked me to come to tea and showed © Helen Gardner I978 me the volumes he had bound up. This was the beginning of a close and Quotationsfrom the works oJT. S. Eliot© Valerie Eliot I978 affectionate friendship to which my labours on this book have been a kind ExtractsJrom letters and other writings by John Hayward © The Provost oj of tribute. For I knew, as I worked, that what I was doing would have given King's College, Cambridge and Mrs. Diana Oakeley I978 him pleasure. That it would have given pleasure to Eliot is more doubtful. In February Library of Congress Catalog Card Number 77-92749 194I, he wrote to the Librarian of Magdalene College, Cambridge, of which ISBN 0-19-519989-8 he was an Honorary Fellow, to enquire whether the college library took 'any interest in "contemporary manuscripts"', adding 'I don't see why it should', and offered it the 'mss.' of The Dry Salvages with the option of refusal: 'if you do like to have such mss. I shall be glad to hand over this and future ones; but if you don't there is no need to take them just to be kind.' When ~---~··--·-theMaster (A;R Ramsay), to whom the Librarian had handed the letter, wrote to express the College's pleasure in accepting the gift, Eliot expanded his uneasiness: From the point of view of an author, I am not sure such papers should be preserved at all; from the point of view of a librarian, they seem to me a nuisance: but if they are to be preserved, I should be sorry to think that they should be divided only between the Bodleian and Eliot House and that none should be at Magdalene. Some eighteen months later he wrote again to the Master to say it 'would be a pleasure' to add 'the manuscripts and papers' of Little Gidding to those connected with The Dry Salvages, with a qualification: When I say that this would be a pleasure, I do not wish this quite truthful assertion to be construed as expressing general approval of the preservation of my own or indeed of most manuscripts. As a general rule, to which I cannot perceive my own work to provide any exception, it seems to me that posterity should be left with the product, and not be encumbered with a record of the process, of such compositions as these. Their presentation, however, affords an author one of the few means at his disposal for showing his gratitude and appreciation, such as lowe towards Magdalene: and it is in this spirit that I have proposed sub­ tracting these papers from the national supply of pulp. 693269 VI PREFACE PREFACE Vll Although I share some of Eliot's apprehension that the current interest in tion about the progress of the poem, the circumstances in which it was poets at work may distract attention from what finally emerged from all written, and the major sources. Both here and in the commentary I have their toil, and believe, with him, that the study of the creative process, how­ quoted, sometimes exten.sively, fro~ articles that are not easily availab.le, ever interesting, has far less to give us than a study of the object created, including uncollected artIcles by Ehot. Far more people than scholars wIth I am reassured by the fact that four years spent with abandoned fragments, access to university libraries cherish these poems and I have tried to bear discarded readings, and what Eliot called the 'Litter' of composition has not their interests in mind. diminished my love for these poems or my conviction of their greatness. My greatest debt is to Mrs. Valerie Eliot for giving me access to all the It has, indeed, contributed to an increase of that 'understanding and enjoy­ unpublished material with a bearing on Four Quartets and for giving me ment' which Eliot in later life thought it was the prime function of criticism freedom to use it as I thought best. She has also given me information to promote. I might otherwise not have found and been most generous in answering my The length of the poems and the amount of material, particularly for questions. After her, lowe most to the late Dr. A. N. L. Munby. As the Little Gidding, has posed problems of presentation. Although Eliot was not Librarian in charge of the Hayward Collection in King's College Library, unique among poets in inviting and accepting criticism of 'work in progress' and as an old friend of Hayward's, he was enthusiastic over the whole from his friends, it is rare-in my experience unique-to find such dis­ enterprise and nobody could have been more helpful. His death, before cussion committed to paper. It seemed to me imperative for readers' comfort I had brought the work to a conclusion, was both a personal and professional that they should have the final text before them, with the process of revision loss. I am very grateful to his assistant, Mrs. Penelope Bulloch, for helpful­ attached and the comments and queries with Eliot's replies immediately ness throughout and especially after Dr. Munby's death. I have also to presented. This has involved cutting up the text and the letters, which thank the Librarians at Magdalene College, Professor J. A. W. Bennett and I regret; but the alternative would face the reader with continually flipping Mr. Pepys Whitely, for kindness in allowing me to work in the Library and to and fro to remind himself of the wording of the passage being discussed. for supplying me with photocopies, and Professor Bennett and his son, I have, however, printed in full the first draft of Little GiddingwithHiyward's~ ~""~'~'Plers,forreci:msiruCtiiig the torn-up manuscript pad there. Like all who letter upon it in an Appendix, to allow a reader the shock of reading a familiar work on Eliot I am indebted to Dr. Donald Gallup. He sent me photocopies poem in an unfamiliar form and, if he wishes, to play the game of what of the manuscript of East Coker IV and showed me Eliot's letters to Mrs. comment he would have made if faced by it as Hayward was. Perkins, his hostess at Chipping Campden, as well.as being always ready to I was tempted at the beginning to be selective and to print only those answer queries. I have also to thank the Librarian of the Houghton Library, passages and readings from the drafts which seemed to me to be significant, Harvard, for supplying me with copies of the drafts for 'Lines for an Old fearing that they might be buried under a mass of trivialities. But I decided Man' and for permission to publish them, and Mr. David Farmer, Assistant that it was my duty to make the material available and not to impose my own Director of the Humanities Research Center at the University of Texas at criterion of significance upon it. The correspondence shows Eliot so Austin, for telling me of the typescript of The Dry Salvages there, for scrupulous over the minutest details in his 'wrestle with words and meanings' supplying me with a photocopy, and for permission to quote its readings that I came to the conclusion that all changes in the drafts should be noted. and to quote from a letter from Eliot to Philip Mairet. lowe my knowledge I have made an exception in dealing with the working typescripts, as distinct of this to Mr. Paul Anderson. I am grateful to the late Rear-Admiral from the drafts, of Little Gidding und not noted punctuation variants in Samuel Eliot Morison and the Editors of The American Neptune for per­ them. Eliot's manuscript drafts are very lightly punctuated, or not at all, mission to quote in extenso from his article on 'The Dry Salvages and the and his working typescripts are erratically punctuated. It is in those drafts Thacher Shipwreck' and to Professor Harry Levin for calling my attention which are in the nature of 'fair copies' that he gave his mind to problems of to this article. punctuation. For the benefit of those who are not interested in changes in Mr. George Every, formerly of the Society of the Sacred Mission at a preposition or alterations of punctuation I have signalized by an asterisk Kelham, gave me information about Eliot's visits to Kelham and his sight readings which are the subject of discussion in the commentary. of a kingfisher in flight there in the summer of the year in which he wrote As this book is not 'an edition of Four Quartets' many passages that an Burnt Norton and also, most kindly, lent me the first draft of a verse play editor would annotate are left without annotation. What annotation I have of his on King Charles's visit to Little Gidding after Naseby which Eliot provided arises usually out ofhitherto unpublished material.
Recommended publications
  • J.M. Reibetanz Four Quartets As Poetry of Place One Thinks of Four
    J.M. Reibetanz Four Quartets as Poetry of Place One thinks of Four Quartets preeminently as a religious and philosophical poem; yet its argument does not proceed simply or preeminently on an abstract level. Rather, ideas enter our consciousness and our understanding through felt experience. Whether it be the paradox of the still point, the mystical negative way of illumination, the attitude of humility, the nature of time, the relationship of attachement, detachment, indifference and history, the necessity for atonement, or any of the other difficult ideas Eliot argues, the poetry leads us into a full experience of concepts by grounding them in places. Thus, we know the still point primarily through our vision in the rose-garden of Burnt Norton; the negative way of ilJumination is presented spatially as a descent into the darkness beneath the level of the London underground; the attitude of humility is derived out of the atmosphere of death that pervades East Coker; the nature of time is seen through our experience of the river and the sea; the thorny relationship of attachment, detachment, indifference and history is argued through the paradigm of the nettles on the hedgerow of Little Gidding; and the necessity for atonement arises from our experience of the tongues of fire that descend on wartime London. Even the primary religious concept of the Quartets. the Incarnation, is not fully argued in conceptual terms until three­ quarters of the way through the poem, at the end of The Dry Salvages. Long before that, however, its mystery is revealed to us in particular moments of illumination that transpire in time and also in place.
    [Show full text]
  • The Waste Land by T
    The Waste Land by T. S. Eliot Copyright Notice ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. ©2007 eNotes.com LLC ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. For complete copyright information on these eNotes please visit: http://www.enotes.com/waste−land/copyright Table of Contents 1. The Waste Land: Introduction 2. Text of the Poem 3. T. S. Eliot Biography 4. Summary 5. Themes 6. Style 7. Historical Context 8. Critical Overview 9. Essays and Criticism 10. Topics for Further Study 11. Media Adaptations 12. What Do I Read Next? 13. Bibliography and Further Reading 14. Copyright Introduction Because of his wide−ranging contributions to poetry, criticism, prose, and drama, some critics consider Thomas Sterns Eliot one of the most influential writers of the twentieth century. The Waste Land can arguably be cited as his most influential work. When Eliot published this complex poem in 1922—first in his own literary magazine Criterion, then a month later in wider circulation in the Dial— it set off a critical firestorm in the literary world. The work is commonly regarded as one of the seminal works of modernist literature. Indeed, when many critics saw the poem for the first time, it seemed too modern.
    [Show full text]
  • T. S. Eliot Collection
    T. S. Eliot Collection Books and Pamphlets (unless otherwise noted, the first listing after each Gallup number is a first edition) The Love Song of J. Alfred Prufrock in Poetry. A Magazine of Verse. Edited by Harriet Monroe. June 1915. Gallup C18. The first appearance of the poem. Near fine copy. A2 Ezra Pound: His Metric and Poetry, Alfred A. Knopf, 1917 [i.e. 1918]. Good copy, a bit worn and faded. A4 Ara Vus Prec, The Ovid Press, 1920. Very good copy, light wear. Poems, Alfred A. Knopf, 1920 (first American edition), Head of spine chipped, otherwise very good. A5 The Sacred Wood: Essays on Poetry and Criticism. Alfred A. Knopf, 1921 (American issue). Fine in chipped dust jacket. ----- Alfred A. Knopf, 1930 (American issue). Good, no dust jacket. The Waste Land in The Dial, Vol. LXXIII, Number 5, November 1922. Gallup C135. Published “almost simultaneously” in The Criterion. Extremities of spine chipped, otherwise a very good copy. A8 Poems: 1909-1925, Faber & Gwyer Ltd., 1925 (first edition, ordinary copies). Very good, no dust jacket. ----- Harcourt, Brace and Company, 1932 (first American edition). Good only, no dust jacket. Poems: 1909-1925. Faber & Faber, 1932. Reset edition. Fine in dust jacket. 1 T. S Eliot Collection A9 Journey of the Magi, Faber & Gwyer Ltd., 1927. Very good. ----- Faber & Gwyer Ltd., 1927 (limited copies). Fine copy. ----- William Edwin Rudge, 1927 (first American edition). Copyright issue, one of only 27 copies. Fine copy. A10 Shakespeare and the Stoicism of Seneca, Humphrey Milford, Oxford University Press, 1927. Very good. A11 A Song for Simeon, Faber & Gwyer Ltd., 1928.
    [Show full text]
  • An Examination of TS Eliot's Four Quartets
    European Scientific Journal January 2016 edition vol.12, No.2 ISSN: 1857 – 7881 (Print) e - ISSN 1857- 7431 Crisis of the Modern Age and the Way Out: An Examination of T. S. Eliot’s Four Quartets Dr. Fatima Falih Ahmed Al-Badrani Assistant Professor, South Carolina University, USA Dr. Abdullah Fawaz Al-Badarneh Assistant Professor, Department of English, Jerash University, Jerash, JORDAN doi: 10.19044/esj.2016.v12n2p225 URL:http://dx.doi.org/10.19044/esj.2016.v12n2p225 Abstract The twentieth century was one of change and unrest. What characterises the age is that society, up to a high degree, was hostile to spiritual life. The spiritual values seemed to be neglected or totally abandoned for the material, more matter-of-fact values. This left society in a state of increasing confusion that was substantially realised in the outbreak of World War I. The impact of the war revealed the degeneration of the modern world with the breakdown of religion and moral and spiritual traditions. T. S. Eliot was fully aware of the ills of modern civilisation that surrounded people with a number of faiths established haphazardly to fight against the troubles of modern life. These faiths refer to political and social ideologies, parties, and allegiances. Eliot finds that all modern ideologies are poor and futile substitutions for religious faith. He finds that society should be built not upon power and its corruption, but upon a higher system of values which are mainly spiritual and moral. This research paper demonstrates how Eliot's Four Quartets affirms the possibility of spiritual regeneration and gives a positive projection of hope.
    [Show full text]
  • The Eliot - Hale Archive: First Readings II the Eliot-Hale Archive: First Our Readers Will Recall That in the Spring Issue of Time Present (No
    The Newsletter of the International T. S. Eliot Society Number 101 Summer 2020 CONTENTS The Eliot - Hale Archive: First Readings II The Eliot-Hale Archive: First Our readers will recall that in the Spring issue of Time Present (No. 100), we Readings II published a set of six first-response pieces to the letters T. S. Eliot wrote to Emily Eliot’s Ghost Story, Hale from the 1930s to the 1950s. In this number of our newsletter, we follow by Jewel Spears Brooker 1 that collection of responses with three more offerings from those readers fortunate enough to visit Princeton’s Firestone Library before the coronavirus necessitated Unbuttoned and Unimportant, the closing of the library and the shutting of this newly opened archive. We are by Anthony Cuda 2 grateful to this issue’s contributors—Jewel Spears Brooker, Anthony Cuda, and Love’s Errors and Effacements, Gabrielle McIntire—for sharing their early responses. We look forward to the day by Gabrielle McIntire 6 when Firestone and its archives are open to us all; we trust that these responses Program of the 41st Annual will illuminate aspects of this important, extensive, extraordinarily complex Meeting of the International correspondence. T. S. Eliot Society 3 Reviews Eliot’s Ghost Story: Reflections on his Letters Faber & Faber: The Untold Story, to Emily Hale by Toby Faber Rev. by David Chinitz 5 Jewel Spears Brooker Christian Modernism in an Age of Eckerd College I feel like the ghost of youth Totalitarianism, by Jonas Kurlberg, At the undertakers’ ball. Rev. by Elena Valli 7 “Opera,” Nov.
    [Show full text]
  • “All Manner of Things Shall Be Well”
    School of Languages and Media Studies English Department Master Degree Thesis in Literature, 15 hp Course code: EN3053 Supervisor: Billy Gray “All Manner of Things Shall be Well”: Tractarianism, Eliot, and the Natural World in Four Quartets Monica Murphy Dalarna University English Department Degree Thesis Spring 2016 At Dalarna University it is possible to publish the student thesis in full text in DiVA. The publishing is open access, which means the work will be freely accessible to read and download on the internet. This will significantly increase the dissemination and visibility of the student thesis. Open access is becoming the standard route for spreading scientific and academic information on the internet. Dalarna University recommends that both researchers as well as students publish their work open access. I give my/we give our consent for full text publishing (freely accessible on the internet, open access): Yes ☒ No ☐ Table of Contents Introduction 1 I. The Oxford Movement: Liturgy and Poetics 7 II. Analogy 10 III. Sacramentality 13 IV. Burnt Norton and East Coker: Formed nature 15 V. The Dry Salvages: The Voyage Transformed 21 VI. Little Gidding: Language Transformed 26 Conclusion 30 Works Cited 33 Murphy 1 INTRODUCTION When T. S. Eliot announced his conversion to Christianity in 1928, Virginia Woolf wrote to her sister that “poor dear Tom Eliot [. .] may be called dead to us all from this day forward. He has become an Anglo-Catholic, believes in God and immortality, and goes to church [. .] There’s something obscene in a living person sitting by the fire and believing in God” (qtd.
    [Show full text]
  • Drowning, Shipwreck, Sailing: T. S. Eliot's Voyage Of
    Dídac Llorens-Cubedo Drowning, Shipwreck, Sailing: T. S. Eliot’s Voyage... 85 DROWNING, SHIPWRECK, SAILING: T. S. ELIOT’S VOYAGE OF TRANSFORMATION Dídac Llorens-Cubedo, UNED1 Email: dllorens@fl og.uned.es Abstract: Drowning, shipwreck and sailing are recurrent images in Eliot’s poetry. Prufrock’s empty existence reaches a crisis imagined as drowning. “Death by Water” was originally the narrative of a doomed voyage, inspired by Dante’s and Tennyson’s portrayal of Ulysses. The Waste Land contains allusions to the shipwreck in The Tempest and to Ophelia’s drowning, leaving Phlebas’ end open to opposite interpretations. After his conversion, Eliot’s poetry has a clear sense of religious purpose: in “Marina”, Ash Wednesday or “The Dry Salvages”, sailing symbolises mystic purgation; shipwreck and drowning are apocalyptic passageways to eternity. This imaginative evolution exemplifi es Jung’s archetype of transformation. Keywords: poetry, imagery, literary analysis, literary infl uences, Modernism. Title in Spanish: Ahogamiento, naufragio y navegación: el viaje de transformación de T.S Eliot. Resumen: El ahogamiento, el naufragio y la navegación son imágenes recurrentes en la poesía de Eliot. La vacuidad de Prufrock le lleva a un ahogamiento simbólico. Originalmente, “Death by Water” narraba una travesía fatídica inspirada en el Ulises de Dante y Tennyson. The Waste Land alude al naufragio de The Tempest o al ahogamiento de Ofelia, confi riendo ambigüedad a la muerte de Phlebas. Tras su conversión, la poesía de Eliot adquiere una orientación religiosa: en “Marina”, Ash Wednesday o “The Dry Salvages” la navegación simboliza la purgación mística; el naufragio y el ahogamiento son ritos de paso apocalípticos.
    [Show full text]
  • EIIRJ) ISSN 2277-8721 Bi-Monthlyelectronic Reviewed Journal July/Aug 2012
    Electronic International Interdisciplinary Research Journal (EIIRJ) ISSN 2277-8721 Bi-monthlyElectronic Reviewed Journal July/Aug 2012 T.S. ELIOT: INDIAN INFLUENCES AND HIS FAITH Dr. Asha F. Solomon Dept. of English Montfort College, Lucknow Abstract Thomas Sterns Eliot was an American by birth, but an Englishman by adoption. He grew to become a naturalized British citizen. Eliot's interest in Indian thought came largely through the influence of his teachers at Harvard. The most important influence in Eliot's Harvard days seems to have been Irving Babbitt whose system of thought was based upon the study of the Pali manuscripts, the earliest authentic Buddhist documents. In The Waste Land there are two well-known examples of Hindu influence both coming at the end of the poem in the section entitled "What the Thunder Said." At the very end we find the triple use of the word ‘shanti’ which is both Vedic in origin and Upanishad in content. It pacifies all sorts of anguish, anxiousness, hesitation, doubt of our head and makes us calm. The Christian scheme seemed the only possible scheme which found a place for values which he had to maintain or perish. , the belief, for instance, in holy living and holy dying, in sanctity, chastity, humility, austerity. He expressed the discovery of a faith that would last. He felt that modern life was rife with futility and anarchy. It was his interest in the institution of society that led him to see the importance of communal worship, and the significance of religious practice for all nations, as well as for individual souls.
    [Show full text]
  • Cats Study Guide TABLE of CONTENTS
    Name:______________________________ Date: / / 1 Cats Study Guide TABLE OF CONTENTS PLOT SUMMARY………………………………………………………………………………………………………… 3 PRODUCTION HISTORY…………………………………………………………………………………………. 5 CAST LIST & ABOUT THE DIRECTOR……………………………………………………………….. 7 THEATRE ETIQUETTE………………………………………………………………………………………………. 8 STUDENT ACTIVITIES WORD SEARCH…………………………………………………………………………………………… 9 CRITIQUE SHEET…………………………………………………………………………………………. 10 ALIGNMENT TO STANDARDS……………………………………………………………………………… 11 Cats Music by Andrew Lloyd Webber Based on Old Possum's Book Of Practical Cats by T.S. Eliot Directed and Choreographed by Sarah Wilcoxon Other showtimes: 25-26, 28 October 7:30 PM 27 October 2:30 PM Craig Hall Coger Theatre Cats Study Guide 3 Plot Summary Cats begins with the gathering of the cats of the Jellicle tribe onstage to explain a bit about their lives and their purpose. After the group describes how they assign names to each cat in the tribe, they assemble in preparation to take part in the annual festival of cat-dom...they send out invitations to attend the Jellicle Ball! At the Ball, each cat tries to prove to Old Deuteronomy (the leader of the Jellicle tribe) why he or she deserves to go the Heavyside Layer – a heavenly feline afterlife. Munkustrap, the show’s feline narrator, introduces the cats one by one starting with Jennyanydots. The Rum Tum Tugger, the wild and inconstant Elvis-esque cat, interrupts her presentation with his grand entrance; he feels no obligation to other cats and does as he feels. Following Tugger’s exuberant performance, the old and greying Grizabella makes her way through the group causing the tribe to scatter. The other cats dislike the lowly Grizabella and somberly sing of her sad state. As Grizabella sulks off into the night, the fat and renowned Bustopher Jones sings of his elite status among his fellow cats.
    [Show full text]
  • Simply Eliot
    Simply Eliot Simply Eliot JOSEPH MADDREY SIMPLY CHARLY NEW YORK Copyright © 2018 by Joseph Maddrey Cover Illustration by José Ramos Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-25-4 Brought to you by http://simplycharly.com Extracts taken from The Poems of T. S. Eliot Volume 1, The Complete Poems and Plays, The Complete Prose of T. S. Eliot: The Critical Edition, The Letters of T. S. Eliot, Christianity and Culture, On Poetry and Poets, and To Criticize the Critic, Copyright T. S. Eliot / Set Copyrights Limited and Reproduced by permission of Faber & Faber Ltd. Extracts taken from Ash Wednesday, East Coker and Little Gidding, Copyright T. S. Eliot / Set Copyrights Ltd., first appeared in The Poems of T. S. Eliot Volume 1. Reproduced by permission of Faber & Faber Ltd. Excerpts from Ash Wednesday, East Coker and Little Gidding, from Collected Poems 1909-1962 by T. S. Eliot. Copyright 1936 by Houghton Mifflin Harcourt Publishing Company. Copyright renewed 1964 by Thomas Stearns Eliot. Reprinted by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved. Extracts taken from Murder in the Cathedral, The Cocktail Party, The Confidential Clerk, and The Elder Statesman, Copyright T.
    [Show full text]
  • T. S. Eliot S'ociety Newslette~
    T. S. ELIOT S'OCIETY NEWSLETTE~ NUMBER. 48. FALL 2002 Publi~hed by the T.S. Eliot Society (incorporated in the State of Missouri as a literary non-profit organization), 5007 ~aterman Blvd .. St. Louis, MO 63108 CALL FOR PAPERS SOCIETY MEETING ALA ANNUAL MEETING 2003 BOSTON (CAMBRIDGE) 2003 Next year's meeting will be held September 26-28 in St. AI; in past years, the Society will hold two multi-paper ses­ Louis. We will again hold most of our sessions at the St. sions at the 2003Annual Meeting of the American Litera­ Louis Woman's Club. A block of rooms will be held for ture Association, to be held from May 22-25 at the Hyatt members of the Society at the Best Western Inn arthe Park, Regency Cambridge, Cambridge, MassachusettS. Mem­ but next year we will also have the possibility of staying at bers wishing to read papers or make innovative scholarly the newly-renovated and luxurious Chase Park Plaza, just presentations of interest to Eliot scholars, are invited to send two blocks down the street. The Chase Park Plaza will hold usefully detailed proposals or abstracts-between 300 and a block of rooms (until Sept. 2) for our members and is 500 words long-to the President, Professor Shyamal offering a conference rate of $129 per night. Thus we will Bagchee. Electronic submissions are definitely preferred, have greater choice oflodgings next year, something several and should reach him at <[email protected]> members have requested. no later than Monday; 20 January 2003. Individual presentation time is limited to twenty minutes.
    [Show full text]
  • The Concept of Time and Eternity: a Study in Relation to Eliot's
    GULLY PROOF Khulna University Studies, 2(2): 1-6 ARTS & HUMANITIES Khulna University Studies 2(2): 1-6 THE CONCEPT OF TIME AND ETERNITY: A STUDY IN RELATION TO ELIOT’S ‘FOUR QUARTETS’ Gazi Abdulla-hel-Baqui Office of the Registrar, Khulna University, Khulna-9208, Bangladesh KUS-01/01-290101 Manuscript received: January 29, 2001; Accepted: September 28, 2001 Abstract: The transgression of time which glides into eternity is a metaphysical concept. The meditative human mind has been profoundly influenced by this concept throughout the ages. T S Eliot, a great poet of English literature, deals the element of time in his ‘Four Quartets’ in a wonderful manner. This paper relates Eliot’s views on time as subjectivistic and at the same time philosophical. It also shows how Eliot builds a deceptively quiet piece of graceful lyric out of the metaphysical theme ‘time’ and how far Eliot’s success in the treatment of theme and the explanation of the concept is realistically convincing. Key words: Time; eternity; space, universe; philosophy; future Introduction Time is an eternal element and an alluring theme. Since time immemorial, this element has been stirring human emotions very powerfully and has at times been dealt with as a metaphysical concept. 'Time' moved the meditative mind of T.S. Eliot who, in his poetic effort, interprets the philosophical concept of time and its relation to eternity in his ‘Four Quartets’. His individual interpretation clearly involves his indebtedness to the philosophical views of Henry Bergson, a French intuitionist. Bergson held that the flow of time can be conceived only by non-rational intuition.
    [Show full text]